#looking back its pretty neat that it ended up kind of aping the actual narrative of the hobbit.like almost everything is in proper sequence

[alex51324]

Hey so I'm obsessed with your write up of prehistoric humans and wonder if you have any reading recommendations for someone who wants to learn about this topic?

Sure!

So, the one I was reading recently, that I talked about on here somewhere, was called After The Ice: A Global Human History. It covers the period from about the end of the last ice age (about 20,000 years ago) to the beginning of recorded history (about 5000 years ago). The author uses this conceit (which I thought might be cheesy, but was actually kind of neat) where an imaginary narrator tours each continent, visiting various archeological sites at the time they were inhabited. It alternates between describing what was actually found at the sites, and narrative sections describing scenes that would account for the what was found however-many-thousand years later. (There's some educated guessing involved in those scenes, but the footnotes do a pretty good job of signposting how close to or distant from the evidence he is at any time.)

Another good one for the late-prehistory-to-early-history period is The Dawn of Everything, which has an ideological focus on demonstrating the non-inevitability of structural inequality as seen in feudalism and capitalism. It's not necessarily as careful as would be ideal about explaining how its conclusions about prehistoric human societies connect up with the archaeological evidence, but it has lots of big, interesting ideas.

If you want to go further back, the classic overview of human evolution that I read was Jared Diamond's The Third Chimpanzee. It's fairly old--1991--but it's a classic and still in print. There's quite a bit that's been discovered since then, but it's still a decent starting point.

Ian Tattersall's Understanding Human Evolution is a much more recent (2022) book that might be another good starting point.

Once you've got the big picture, there are a lot of good books about specific aspects. Lydia Pyne's Seven Skeletons looks at some of the most famous specimens in the study of human origins. Another one I read recently was Ancestral Appetites, which talks about food in the context of human evolution and prehistory, and Catching Fire: How Cooking Made Us Human, which is about the use of fire and cooking as a driver of human evolution.

Last Ape Standing looks at homo sapiens in the context of other extinct hominins, and Rebecca Wragg-Sykes's Kindred focused on the Neandertals.

Anyway, those are a few that came to mind! If there's another aspect you'd like to know more about, I can try to think of some more...I know I've read a bunch about the origins of language, but I'm drawing a complete blank on titles.

[divorce-me]

oh hey i have an old google doc somewhere where i assigned all major arcana to the hobbit. hold on i'll find it

okay it's based mostly on the book. and it's only for the hobbit not lotr. and since there are no women in the hobbit book some of the more feminine tarot cards are creatively interpreted. but here are my old notes if it helps at all. meanings are listed as (upright; reverse)

the fool: bilbo (new beginnings; recklessness. major arcana is sometimes viewed as the fool's journey and this card is him at the very start of it i.e. bilbo running out of the shire eager for adventure but uncomprehending of the true danger that awaits him. hobbits leaving their home are really THE quintessential fool archetype)

the magician: gandalf (willpower/manifestation; trickery/illusions. the magician usually starts the fool on his journey. literallyyy gandalf. he walked into the shire that morning knowing full well he was going to fuck up bilbo's entire life. and he was delighted to do it too)

the high priestess: map and key to erebor (intuition; secrets. like the magician, the high priestess usually helps start the fool out on his journey. represents potential that needs to be acted on to be realized. the map and key are the whole instigation of the quest)

the empress: the shire (fertility/nature; dependence/smothering. the shire is both where bilbo longs to return to and where he cannot stay if he truly wants an adventure)

the emperor: thorin (authority/control; tyranny/rigidity. a delicate balance. one that thorin does not always handle with grace)

the hierophant: elrond (tradition/pursuit of knowledge; new approaches. elrond in his perfect little valley staying out of peoples business til they bring it to his doorstep. his reading of the moonrunes spurring the dwarves further on their journey)

the lovers: idk i never actually filled this one in. the meaning is (partnerships; disharmony). it doesn't have to be romantic necessarily. you could choose any pairing really. for the purposes of this hobbit oriented list i'd have to say it's either bilbo-thorin or better yet the company as a whole. they are quite the silly bunch after all, united in their goal but often at odds with one another.

the chariot: the eagles (control/willpower; lack of control/aggression. who knows when the eagles are going to deign to show up. sure they owe gandalf a couple of favors but they're giant predatory birds man. favorite part of the book is when the eagles save them and bilbo is like THEY are GOING to EAT ME. their control of the situation vs the lack of control for those they rescue)

strength: beorn (bravery/compassion; self-doubt/weakness. naturally strength is the huge werebear guy. he lets gandalf trick him into housing thirteen dwarves and a hobbit with only a little bit of eye-rolling on his part. cool dude)

the hermit: smeagol (contemplation/search for truth; isolation/loneliness/lost your way. riddles in the dark. what has it got in it's pocketses precious?)

the wheel of fortune: the one ring (change/inevitable fate; no control/bad luck. bilbo was fated to find the ring. in doing so he sealed both frodo's fate and all of middle earth's)

justice: thranduil (cause and effect/clarity/truth; unaccountability/unfairness. if you trespass in this guy's spooky forest you will be put in jail. if you are then asked to explain why you were trespassing in his spooky forest and are annoyingly evasive about it you will be put in jail for HUNDREDS OF YEARS. the prison food is good though)

the hanged man: bard (sacrifice/release; fear of sacrifice. bard wants nothing to do with the prophecy and knows the danger thorin and co pose when they come to laketown. when smaug attacks the guards fall back but bard holds fast and slays the dragon alone. fears the cost of war but will do what he needs to secure a future for his own people)

death: the lonely mountain and the desolation of smaug (end of a cycle/beginnings; holding on/stagnation. there's a lot wrapped up in erebor as a concept. it's the end of the company's journey and the beginning of their future. it's also their past and their doom)

temperance: the thrush (patience/finding meaning; extremes/lack of balance. stand by the grey stone when the thrush knocks on durin's day and a magic keyhole will appear. who hired this bird and why is it so committed to it's job. it's been 170 years)

the devil: smaug and the hoarded gold (excess/materialism/playfulness; freedom/release. smaug is greed incarnate. he leaves the mountain but the greed does not leave with him. freedom from greed can only be found when the treasure is shared)

the tower: burning of laketown (disaster/pride/upheaval; delaying or avoiding disaster. laketown sang of prophecy and gold when thorin and co arrived. that same prophecy is their downfall. perhaps it was inevitable. in the end the dragon is slain, even if it was at great cost)

the star: the arkenstone (hope/faith/rejuvenation; discouragement/faithlessness. the jewel of erebor. a representation of the days of old glory and the hopeful days of glory yet to come. used by bilbo to bring peace to a dire situation but only by betraying the faith thorin put in him not to do so)

the moon: roäc and the ravens of erebor (unconscious/intuition; confusion/misinterpretation. messenger ravens silhouetted by the moon? cool as hell)

the sun: dain (joy/success/celebration; negativity/sadness. the arrival of dain and his army from the iron hills was a great joy to the dwarves of erebor and an even greater boon in the war against the orcs and wargs. as king under the mountain he ushers in a new age of prosperity for erebor. but one remembers that it was only by way of tragedy he was granted kingship at all)

judgement: bilbo at thorin's deathbed. (reflection/reckoning; doubt/self-loathing. war comes at a cost even when it is in defense of something noble. thorin has clarity. his last words are kind. his home is restored; his nephews are dead. he judges this hobbit to be more worthy than all he has known before. he is forgiven)

the world: middle earth. specifically the path bilbo took to get there and back again. (fulfillment/completion; no closure/incomplete goals. bilbo's journey took him farther than he ever imagined. the quest for erebor is complete; the mountain is reclaimed; but the king does not live to see his home rebuilt; and a friend is lost forever)

I dont have much hope for this to get any attention, but i’m gonna (probably) start a series where i draw the hobbit/lotr characters in tarot cards and i need some help deciding what the characters would be-

so if you have any ideas for ANY character please interract!

[autumnblogs]

Day 8: The Universe Will Eat Paradoxes for Breakfast

Alright, time to get back on this horse.

https://homestuck.com/story/1358

We open with John exploring his planet. This game is a lot shorter than I remember it being, which is kind of welcome. While these little walkaround are fun, it isn’t until some of the later ones that they have some really heavy content, and this one in particular can be effectively skipped since I know we rehash it later with PM. That said, as part of the work as a whole, especially for first-time readers, and especially especially back when it was first being written, these are a lot of fun.

More after the break.

https://homestuck.com/story/1363

The militarist surrenders at the first sign of being overpowered (Bec is a symbol of trauma for him)

https://homestuck.com/story/1365

And is easily subdued.

https://homestuck.com/story/1372

More of the highly-jade-specific interactions.

Most of our opportunities to directly control characters so far have been pretty exclusively John and Jade. I wonder if Prospit players in particular are just more susceptible to the layered narrative true nature of reality in Paradox Space, or if it’s even just specifically John and Jade? We can directly control John through the walkarounds in his house and on his planet, and are implied to be indirectly influencing Jade through the sections where Jade breaks the fourth wall and lets the audience do things (whether literally through the couple of polls so far, or during the memory match game).

I’ve already theorized about all the parts of the story where Jade lets the audience take control as being representational of Jade’s highly overactive imagination - the audience serves as her gallery of imaginary friends, effectively.

Going back momentarily to the walkarounds with John, I wonder if we could read out of them that John’s wandering around tends not to be voluntarily directed by John almost at all - he zones out, and just lets the wind take him wherever it will, not really consciously exploring so much as aimlessly wandering. For John, everything in his environment is potentially a source of meaning, so everything in his environment is equally meaningless.

https://homestuck.com/story/1382

The Pumpkin is far too semantically complex to be rendered as a human-readable captcha code.

Which is weird, because as symbols of Void, shouldn’t Pumpkins be almost elemental? I would have expected a pumpkin to have one or two slots tops.

https://homestuck.com/story/1383

As @mmmmalo​ has already pointed out (or maybe one of the many people who reply to their posts!) this page conceptually connects a pair of hands holding each other with Squiddles, building Squiddles as a symbol of intimate contact.

https://homestuck.com/story/1389

In spite of Jade’s inner desire to go ape shitt [sic] she nevertheless remains by far the character with the best foresight until Terezi enters the comic (and Rose finds her groove as a Seer of Light.)

https://homestuck.com/story/1391

While inquisitive and probing when he comes across something he can interact with, when he talks to his friends, John seems very happy to mind his own business about their inner lives, and not push too much for more details than they are willing to give.

Another line in here has John mirror Dave’s language but end differently, turning the trope “take him out behind the woodshed and shoot him” and turning it into a playful joke. The fact that they both make use of nearly the same language makes me wonder whether John and Dave have talked about Becquerel alone, Dave sharing his discomfort with John leading him to make this remark, or if strange minds just think alike in Paradox Space?

https://homestuck.com/story/1393

Jade and Dave’s interactions with each other continue to be priceless. I think Jade’s guilelessness and lack of pretension makes it considerably easier for Dave to exist around her and just be himself, he doesn’t feel too competitive the way that he does around John (who is another boy/man - a significant part of Dave’s future arc is the level of insecurity that he feels over the way that John is arbitrarily powerful and he can’t catch up. Bro’s version of manhood is one where men have to compete with one another to establish dominance. I keep mentioning Toxic Masculinity in relation to Bro, Dave, and manhood in Homestuck in general, and instead of writing on the subject myself right now, I’ll direct you to Cinema Therapy’s excellent video about the subject.) or Rose, whose non-traditionally-feminine characterization and superior affectation eggs him on in a similar way. Dave can just be Dave around Jade.

https://homestuck.com/story/1394

Unlike Jade, John does negotiate with terrorists! I think that John is definitely only tolerating Karkat here specifically because the game is giving him reasons to believe that Karkat is actually an alien. But I also think that if Karkat had contacted anybody other than John he would have been shit out of luck. While in other places it manifests as gullibility (like when Terezi tricks him into getting killed by his denizen), John is generally extremely tolerant, willing to accept apologies, and believe the best of other people. He will kick the shit out of you if you’re an unrepenant jerk like Caliborn, but John has faith in just about everyone.

https://homestuck.com/story/1401

If it feels like I can barely be bothered to stop talking about the genders for twelve seconds, these characters can barely stop talking about the genders for twelve seconds, or sex, or psychosexuality, or being tangle buddies. Sometimes, they’re just talking about being friends though, and that’s alright too :)

https://homestuck.com/story/1403

The way that Jade deploys Sburb machines is nearly the opposite of what Rose does. Rose looks for pre-existing places within John’s house to deploy Sburb’s apparatuses, filling space that isn’t filled yet. Jade removes Dave’s bed to deploy the Cruxtruder there, his Television to put the Totem Lathe there... you’d really think a Hero of Space would display better spatial reasoning!

https://homestuck.com/story/1431

Rose, like Terezi, is more cognizant of Narrative Prompts meddling with her internal thought processes. I feel like that probably feeds into her paranoia in a vicious cycle.

Dave does not like being watched.

https://homestuck.com/story/1442

I’m pretty sure that this is the first time the Bluh imagery gets used but I could be wrong? I feel like I might have missed an earlier one if there is one.

John’s expression of disgust here does recall an earlier panel that has its basic theme repeated with all three characters though, and I forgot to comment on it completely until now!

Characters have intrusive thoughts, and intrusive trains of thought like this all the time in Homestuck, as they think about random shit that doesn’t pertain to their circumstances at all, ideas that they don’t want to have, and then reject. Dave’s train of thought here in particular immediately recalls another intrusive thought - Apple Juice and Urine are linked in his head now, so he can’t think about one without thinking about the other now, unfortunately - it’s not a conscious decision.

The quartet of Intrusive thoughts I’m thinking about are

Squawk like an imbecile and shit on your desk.

Writhe like a flagellum and puke on your bed.

Bleat like a goat and piss on your turntable.

Squeal like a piglet and fertilize some plants.

Interestingly from amongst the aforementioned establishing intrusive thoughts, the only character who humors hers is Jade, who proceeds to do exactly that. Go Ape Shitt Jade.

Really, this entire little aside is a bit of an intrusive thought made manifest.

Dave is extremely clever, thinks on his feet, and ruthlessly cunning. I think these are the hallmarks of a Knight, who exploits their aspect (as a weapon, if all the references to Knights as specifically warriors are to be believed.)

https://homestuck.com/story/1452

More intimacy symbolism with squiddles.

https://homestuck.com/story/1483

https://homestuck.com/story/1484

John and PM are in pretty much the exact same predicament.

https://homestuck.com/story/1487

John’s powers manifest just by his being there, without him even really doing anything to trigger them.

I wonder if an Heir of Light would passively cause outrageously lucky happenstances in self-defense like, all the time? Like the dude from that one episode of X-Files with the Rube Goldberg machines.

https://homestuck.com/story/1501

If we go with the theory of AR as a Bad Cop, he is extremely quickly rehabilitated by his community, as almost all such cops are. Again, this reading of AR is extremely experimental and is probably bullshit.

https://homestuck.com/story/1504

More juxtaposition between what is going on with the Exiles, and what is going on with the Kids. I forgot how rapidly Homestuck switches back and forth between perspectives.

This too is probably a kind of circumstantial simultaneity - events that coincide or follow each other not because of geographical continuity, but because they are both related to the same set of information.

https://homestuck.com/story/1521

I think it’s neat that Sburb has built in mechanics like this to ensure that it is played as a cooperative game, but also places limits on how much members of the team are allowed to use each other’s stuff so that douches like Eridan don’t steal the entire team’s Grist Cache to make something stupid.

I wonder if the Red Team and the Blue Team could use each other’s grist? That’s probably one of those things that hinted that they were actually one bifurcated session.

https://homestuck.com/story/1524

Terezi’s use of the phrase Hyper-Flexible Mythology here reminds me of an essay with that phrase in its title that discusses the way that elements like the Classes and Aspects are extremely constructive toward building a story that will have endless room for original characters, and with them, other kinds of fandom engagement.

Other than that, I notice two things here. The first is that Terezi informs Rose and the crew about the Exiles, and by doing so, helps us, the audience, understand why we keep flashing sideways to them.

Terezi also names the setting of Homestuck, Paradox Space, and in nearly the same breath, she alludes to the nature of reality in Homestuck - reality in Homestuck is self-fulfilling. Its only meaning is its own existence - Paradox Space exists just because it does. It needs no external justification for its own existence, it does so because it will. People who live in Paradox Space are like this too. While this is literally, materially true for Gods like John, Rose, Dave, and Jade, it is probably more spiritually true for everyone who lives in Paradox Space.

Nobody in Paradox Space is alive on accident. Everyone assents to their own existence. Everyone gets what they want. Everyone gets what they deserve. Even if they don’t know that those are the same thing, or that Determinism and Karma working together to create a system of distributed responsibility where no one actor is entirely to blame for the ultimate final outcome, but everyone simultaneously played a part in having it end up where it is, and in ending up where they are in all of it.

And with that, I’m going to pause here. We got a lot of information from Terezi, so before we get too much further into Troll shenanigans, we’ll take a break for an evening.

With some luck, I’ll get back to an even number of hundreds in terms of pages tomorrow.

Cam signing off, Alive, Not really feeling like myself today, but still Not Alone.

[britesparc]

Weekend Top Ten #495

Top Ten Non-MCU Post-Credit Scenes

Oh look, two MCU-related posts in a row! Delightful. Well, kinda. Because this week is a fake-out; it’s not really about the MCU! In fact, it’s almost anti-MCU! How wicked! Because ever since its inception, one of the quirks of the Marvel Cinematic Universe – something it’s become famous for, in fact – is its use of a post-credit scene. From the moment Nick Fury stepped out of the shadows to mention the “Avenger Initiative” after all the names had scrolled on by in Iron Man, the ongoing films were almost defined by their last-second teases and delights. You can tell, in the cinema, the fans and non-fans, as they get up and clear off, leaving the True Believers in their seats, wondering how these people could possibly vacate the theatre without really seeing the ending. In fact, as the franchise has gone on, the number of people staying put has – in my own rough reckoning – increased considerably, to now be about fifty percent of the audience. And why not? You’re really not getting the full picture! As these entangled narratives have unfurled before us, we like the connective tissue of the end-credit tease; the reveals of new characters or locations, the subtle hints at what’s to come. Loki has possessed Selvig! The Collector has the Aether! The ant’s playing the drums!

“To challenge them would be to court Death!”

Anyway, MCU films have post-credit scenes. But of course they’re not the only ones. Having a scene after the credits – or, sometimes, during the credits – is fairly common in the history of cinema. I think it’s become a lot more common this century, partly because of Marvel popularising it as a storytelling device or method of connecting disparate films in a franchise, but also (I believe) because CG animated films have often used it as a comedy trick. I’m not sure why or where this really began in earnest, but I think the old Pixar “out takes” was partly to blame, as was the whole “Shrek Dance Party” phenomenon. Anyway, as you will see, there are a few here that fit that bill.

Because that’s what this whole list is! It’s films that have great post-credit scenes, but aren’t Marvel! Or, at least, aren’t officially part of the Marvel Cinematic Universe. Some of them are classics of the form, thirty or forty years old; some are newer and fall into the categories I’ve mentioned above. Some follow a similar pattern to most MCU end-scenes – comedy skit or tease an upcoming movie, but stuck at the end of the credits – whereas some interfere with the credits throughout. I’ve been wary of scenes which aren’t really post-credit, but if we all the “mid-credit” scene in the MCU – or the multiple scenes from Guardians of the Galaxy Vol. 2 – then we can allow some of the ones below.

So there we are! Nowt more to it. Let’s roll the credits...

Airplane! (1980): early in the film, our hero Ted Striker (Robert Hays) leaves his cab just as a fare gets in the back. Telling said fare to wait, Striker dashes after his girlfriend Elaine (Julie Hagarty), ends up on her plane, and, well, the rest of the delightfully silly and surreal plot unfolds. The film ends, the credits roll, and then we cut back to the abandoned cab, where the poor unfortubate fare is still sat in the back seat. “I’ll give him five more minutes,” he says, looking at his watch, “And that’s it.” I mean, it’s just sublime.

Deadpool (2016)/Deadpool 2 (2018): where to start? Whether it’s the first film’s Ferris Bueller-aping dressing gown skit (delightfully informing us that Cable will be in the next film) or the sequel’s multiple time-hopping gags – including undoing the film’s unfortunate fridging of Vanessa (Morena Baccarin) and killing Ryan Reynolds (“you’re welcome, Canada”) – this series really knows how to keep you engaged until the very last second. Can’t wait to see what he does when he’s part of the MCU.

Young Sherlock Holmes (1985): it’s funny, but looking back, I can probably trace any interest I have in Sherlock Holmes to this film and Basil the Great Mouse Detective. Anyway, this is a seminal film by any yardstick, featuring as it does one of (if not the) first example of a CGI character interacting in a real environment. But the end credit sting! The film’s Big Bad (Anthony Higgins), having somehow survived, checks himself into a hotel under the name of – you guessed it – Moriarty. This was, arguably, the first example of an end-credit scene teasing a future film! Setting up the Young Sherlock Holmes Extended Universe! Sadly it was a bit of a flop and they didn’t make any more.

Masters of the Universe (1987): Young Sherlock may have been interesting, but I’ll be honest, other people had to tell me who Moriarty was for me to understand the significance. The ending of Masters, however… well, it’s not quite as nuanced or revelatory, but the seemingly-dead Skeletor (Frank Langella) popping his head back up to yell at the camera “I’ll be back!” was a fantastic and exciting shock. We were guaranteed more He-Man! There’d be another film! There was not another film. Still cool, though.

A Bug’s Life (1998): I alluded to this earlier, and we’re only tenuously in “end-credit” land here (these scenes play over the credits, technically), but it still merits a mention. For A Bug’s Life was the film that began the (actually very short) Pixar tradition of showing us “outtakes” from the movie. And some of these first ones are among the best, with characters corpsing or forgetting their lines; subsequent films would lean more towards practical jokes and outright gaggery, whereas I personally prefer those that further the “it’s a movie being filmed” illusion. Anyway, the legend began here, not a sentence you can often say in relation to A Bug’s Life.

Frozen II (2019): in recent years Disney have made end-credit gags a tradition, and they’re pretty good at it. Moana’s fourth wall-breaking catchup with Tamatoa nearly made the list, but I’m giving the spot to Olaf. After recapping the plot of the first film earlier in the runtime, he’s now telling the story of the film you’ve just watched. The kicker? He’s telling the story to Marshmallow and the creepy little snow-brothers! From the first Frozen! And Frozen Fever! They’re at the ice palace, remember? It’s not only a funny bit, it’s also a nice nod to those kids (and their parents) who’ve mainlined anything Frozen-related for the past couple of years.

Winnie the Pooh (2011): a very underrated little gem, this; just so charming. One of the plot threads is the apparent disappearance of Christopher Robin, who leaves a note saying he’ll be “back soon”, but which is misread by stuffy know-it-all bird Owl, and leads to an amusing song of fright and alarm Pooh, Piglet and the gang all believe old Chrissie Rob has been abducted by a monster called a “Backson” (“They use their horns to put holes in your socks!”). Obviously this is a misunderstanding, it’s all resolved, happy endings all round. But then, at the end of the credits, who should rock up, but an actual Backson (who turns out to be very nice). What’s great about this, other than it just being a neat gag, is that it’s playing with the expectations of a young audience; it’s introducing them to a kind of comedic rug-pull. I can attest to the fact that nippers find it very entertaining.

Spider-Man: Into the Spider-Verse (2019): I’m a bit concerned about being too superheroic (I nearly had the Flash/Superman race from Justice League in here, actually, which I like because it’s one of the few moments in either version of that film where the characters act like the characters I know). I’m also wary of leaning into the whole “sequel tease” thing. But hey, this one’s fun; it feels like a sequel tease, another alternate version of Spider-Man voiced by a famous actor. Then it warps into the classic sixties Spider-Man, and references the whole “pointing” meme to boot. It has its cake and eats it, and it’s great.

Gremlins 2: The New Batch (1990): the Gremlins films are great at breaking the fourth wall and poking fun at themselves, and this is no exception. The great Daffy Duck – who introduced the film, and whose anarchic style is a great precursor to the Gremlins themselves – pops up several times to comment on how long and boring the credits are, before finally asking the audience, “Don’t you people have homes?”. There should be more Daffy in movies.

Shrek 2 (2004): there were a few things I could have included in this list: Crank’s 16-bit game homage is quite fun; the Ferris Bueller bathrobe bit is iconic, although personally I find Ferris so unappealing as a character that I wouldn’t want to include it. So we have Shrek 2, one of the first of a whole raft of CG animated films to have a funny scene at the end. And the reason I’ve included it is because, well, it’s quite weird. Basically you find out that Donkey and Dragon have had babies that are, er, half donkey and half dragon (“Look at our little mutant babies!” says Donkey). I mean. There are connotations here that I’d rather not mull over.

So there we are. Now I didn’t want to include this as it’s not really a scene, and if I’m just doing “funny things in the credits” then we’re going to get onto stuff like the Naked Gun movies and all sorts of other weirdness, but I do want to shout out to An American Werewolf in London’s “any resemblance to persons living, dead, or undead” legal disclaimer at the end of the credits.